A.P.Polo - Shadows 2 Canvas Print with Floating Frame

A.P.Polo - Shadows 2 in Canvas Print

A.P.Polo - Shadows 2 in Acrylic Print

LIMITED EDITION of 50

A P POLO

# 413488

A.P.POLO - SHADOWS 2

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LIMITED EDITION of 50

A.P.Polo - "Shadows 2" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that creates the impression of space and depth in a monochrom...[+]

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - SHADOWS 2 A P POLO Canvas Print

A.P.POLO - SHADOWS 2 A P POLO Canvas Print

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Stretched Canvas Print We ship in USA & Canada

Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

Stretched Split Canvas

36 x 36 triptych - split canvas
39 x 36 inches including space.
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36 x 36 cross triptych split canvas
39 x 36 inches including space.
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Acrylic Print

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Fine Art made from a Premium polished, best-in-class, 99.9% optically pure acrylic and the latest Flatbed printing craftmanship.

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Acrylic Print with Floating Frame on the back

Printed to the edge & Ready to hang. With a floating frame on the back and hanging wire

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We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

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Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
Robust, very light and provides an amazing aluminum lighting effect [+]

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Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

Brushed Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

Brushed Metal Print with high gloss Epoxy Resin Coat

With a Back Floating Frame and we manually apply an Epoxy Varnish for an amazing lighting effect

Direct print on metal to provide a white smooth satin finish with controlled light reflection.
Robust, very light and provides a Matte effect [+]

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White Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

White Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

Multi Panel Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Shadows 2 HD Metal print with Floating Frame on Back

A.P.Polo - Shadows 2 HD Sublimation Metal print

A.P.Polo - Shadows 2 HD Sublimation Metal print with Decorating Float Frame (BOX)

Color brilliance, superior durability and archival qualities
This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Sublimation Hi-Gloss White Metal Print with Back frame

Printed to the edge & Ready to hang a floating frame and hanging wire

Sublimation Hi-Gloss White Metal Print with Decorating Floating Moulding (Black)

Inside a decorating frame (Box) - Black Floating Frame

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Wood Print

Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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Wood Print with Back Frame Mount

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Roll Print

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Printed on Fine Art Matte Canvas Paper - Provided inside a Strong mailing tube [+]

Premium Acid Free Giclée Poster Paper
Printed on Photo Satin Paper - ( Poster ) Provided inside a Strong mailing tube [+]

Giclée Art Matte Paper Print
Printed on a Premium Archival Matte Paper with a smooth texture & neutral-white - Provided inside a Strong mailing tube [+]

Mural Print

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Our Wall Mural Print is removable without any damage to your walls. Easy to change or remove. We are using a premium 6 mil auto-adhesive vinyl with a subtile linen-cotton canvas texture.
Change the look and feel of a room without the hassle of traditional wallpaper. Our wall murals print are the perfect solution to easily enhance any residential or commercial space alike!

Repositionable self-adhesive vinyl delivered in strip of 35 to 45 inches of width and slightly overlap for easy installation.
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Get this artwork "A.P.Polo - Shadows 2" in a framed print.
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Standard size framed print

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28 x 28"

28 x 28" Framed Print

Printed Area: 24 x 24"
Total Inside area: 28.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 29.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

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Wall Clock

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This artwork is Made with high-quality acrylic Ready to hang.

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Clock mechanism with a Precise quartz movement. Battery included
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ABOUT A P POLO
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ABOUT THIS ARTWORK: A.P.POLO - SHADOWS 2
A.P.Polo - "Shadows 2" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that creates the impression of space and depth in a monochrome way with the use of light and shadow and can be classified as constructivism or concrete art, while also using elements of Op Art. Monochromatic painting has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Painters have created the exploration of one color, examining values changing across a surface, texture, and nuance, expressing a wide variety of emotions, intentions, and meanings in many different forms. From geometric precision to expressionism, the monochrome has proved to be a durable idiom in Contemporary art. Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel). (Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos; and Bertall published his black Vue de La Hogue (effet de nuit) in 1843.) In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks. However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich. Jean Metzinger, following the Succès de scandale created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in Paris-Journal 29 May 1911, stated: "We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Others will come after us who will do the same. What will they find? That is the tremendous secret of the future. Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. (Jean Metzinger, 29 May 1911)" Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. The writer of a satirical manifesto entitled Manifeste de l'école amorphiste, published in Les Hommes du Jour (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by claiming 'light is enough for us'.With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity". In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncu?i. Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. Monochrome painting as it is usually understood today began in Moscow, with Suprematist Composition: White on White of 1918 by Suprematist artist Kazimir Malevich. This was a variation on or sequel to his 1915 work Black Square on a White Field, a very important work in its own right to 20th century geometric abstraction. In 1921, Constructivist artist Alexander Rodchenko exhibited three paintings together, each a monochrome of one of the three primary colours. He intended this work to represent The Death of Painting. While Rodchenko intended his monochrome to be a dismantling of the typical assumptions of painting, Malevich saw his work as a concentration on them, a kind of meditation on art's essence (“pure feeling”). These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or “painting as object”) which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution—a new beginning—in Western painting's history (Malevich). Additionally, many have pointed out that it may be difficult to deduce the artist's intentions from the painting itself, without referring to the artist's comment. Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1915 by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space. The movement rejected decorative stylization in favor of the industrial assemblage of materials. Constructivists were in favour of art for propaganda and social purposes, and were associated with Soviet socialism, the Bolsheviks and the Russian avant-garde. Constructivist architecture and art had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance, fashion and, to some extent, music. Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time. After his death in 1931, the term was further defined and popularized by Max Bill, who organized the first international exhibition in 1944 and went on to help promote the style in Latin America. The term was taken up widely after World War 2 and promoted through a number of international exhibitions and art movements. Op art, short for optical art, is a style of visual art that uses optical illusions. Op art works are abstract, with many better known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping. The antecedents of op art, in terms of graphic and color effects, can be traced back to Neo-impressionism, Cubism, Futurism, Constructivism and Dada. László Moholy-Nagy produced photographic op art and taught the subject in the Bauhaus. One of his lessons consisted of making his students produce holes in cards and then photographing them. Time magazine coined the term op art in 1964, in response to Julian Stanczak's show Optical Paintings at the Martha Jackson Gallery, to mean a form of abstract art (specifically non-objective art) that uses optical illusions. Works now described as "op art" had been produced for several years before Time's 1964 article. For instance, Victor Vasarely's painting Zebras (1938) is made up entirely of curvilinear black and white stripes not contained by contour lines. Consequently, the stripes appear to both meld into and burst forth from the surrounding background. Also, the early black and white "dazzle" panels that John McHale installed at the This Is Tomorrow exhibit in 1956 and his Pandora series at the Institute of Contemporary Arts in 1962 demonstrate proto-op art tendencies. Martin Gardner featured op Art and its relation to mathematics in his July 1965 Mathematical Games column in Scientific American. In Italy, Franco Grignani, who originally trained as an architect, became a leading force of graphic design where op art or kinetic art was central. His Woolmark logo (launched in Britain in 1964) is probably the most famous of all his designs. Op art perhaps more closely derives from the constructivist practices of the Bauhaus. This German school, founded by Walter Gropius, stressed the relationship of form and function within a framework of analysis and rationality. Students learned to focus on the overall design or entire composition to present unified works. Op art also stems from trompe-l'œil and anamorphosis. Links with psychological research have also been made, particularly with Gestalt theory and psychophysiology. When the Bauhaus was forced to close in 1933, many of its instructors fled to the United States. There, the movement took root in Chicago and eventually at the Black Mountain College in Asheville, North Carolina, where Anni and Josef Albers eventually taught.

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